Justin and Bec have compiled their lists of a half-dozen essential alternate studio takes apiece that every Elvis Presley fan, from total newbies to lifelong fans should hear!

For Song of the Week, Bec decides to spotlight Elvis's melancholy 1973 cover of Danny O'Keefe's folk-country hit song "Good Time Charlie's Got The Blues" - but in the hosts' pre-show off-air chat, the duo realized that the song had a lot of overlap with the world of outlaw country, given that the bluesy "Charlie" would go on to be covered by the likes of Waylon Jennings, Willie Nelson and others.

So Justin takes the opportunity to learn Bec some of the history of the burgeoning "outlaw" scene in Nashville in the early 1970s that led to Jennings' iconic "Honky Tonk Heroes" album, largely comprised of material by songwriter Billy Joe Shaver, including "You Asked Me To," which Elvis also recorded in late 1973.

If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy. If you'd like to support us another way, please drop a positive review on your favorite podcast platform!

In this extra beefy episode, Ryan and Justin get together to discuss and rank Elvis's major live albums, from 1969's "In Person" to the posthumous "Elvis in Concert"

For Song of the Week, Justin explores the history and original Mexican song "La Golondrina," behind "She Wears My Ring," which Elvis recorded in 1973 and released on 1974's "Good Times" album.

Ryan then goes for the biggest SotW he's ever tackled on the show, looking into the iconic "You've Lost That Lovin' Feeling," including Elvis's concert performances across the 1970s, and the story of the original by The Righteous Brothers.

If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy. If you'd like to support us another way, please drop a positive review on your favorite podcast platform!

Timestamps: (Just in case - this one's pretty big!)

Intro & News: 0:00

Main Topic: 9:10

She Wears My Ring: 1:21:35

You've Lost That Lovin' Feeling: 1:49:10

After spending a little time mulling over the post-release feelings surrounding "The Colonel & The King," Justin and Bec give their thoughts on the newest Elvis box set from Sony Legacy, Sunset Boulevard, which encompasses recordings and rehearsals done between 1970-1975 at RCA's Studio C in Hollywood. The duo reflect on the the successes and shortcomings of this era of box sets that seems to be drawing to a close.

From Elvis in Nashville, Back in Nashville, Memphis and Sunset Boulevard mark a period where producer Ernst Jorgensen and mixer Matt Ross-Spang have seemingly reinterpreted Elvis's multi-track studio work in the 1970s through a more "rockist" lens; that is to say, one that promotes and emphasizes the perceived authenticity or purity of raw material recorded in-studio by Elvis and a core rhythm band without additional backing vocalists, strings and horns.

Despite great, modern-sounding re-mixes, these box sets have also marred by inconsistent mix decisions that contradict the claims that you're only hearing what Elvis heard in the studio - selectively leaving some overdubs, removing contributions from musicians that were physically in the studio with Elvis, and much more. It's a thought-provoking discussion about what the goals were, what value these sets have added, and whether they have helped us understand Elvis's creative process any better.

For Song of the Week, Bec picks a childhood favorite, the sweet ballad "A Boy Like Me, A Girl Like You" from the Girls! Girls! Girls! soundtrack. Then, Justin uses "Good, Bad But Beautiful," an instrumental intended for Elvis to finish, to explore the fascinating circumstances of sessions, publishing, and release schedules that led to its recording at Stax in July of 1973... and Elvis's rejection of the Clive Westlake-penned song (later done by Shirley Bassey) at a late September 1973 session at his Palm Springs home, less than three weeks after having attempted to fire his manager.

This is one you won't want to skip... because there's a special Elvis Week surprise in this Song of the Week segment, courtesy of our good friends Jamie and John over at the EAP Society.